Join Date: Jul 2003
|-Vormav- -- Oj, long post :]
The empty space. Well. It's so difficult to pinpoint any one way I decide to use it. I think I'd have to go with it being part of a style, I don't really give it much thought anymore. A lot of the things that demanded thought and planning back when I first started out work out more like an instinct now. Sometimes, the empty space is there from the get-go - it has an actual purpose which is planned into the very feel of the image (to use an example - my 'Pale Voice' image was never intended to be cropped close. Originally, it had even more empty space on top - you had to scroll FOREVER to get to the boy, but I gave up a little of it because it didn't feel right). Sometimes, I'll look at an image and I'll find it a little empty, if one can say so, of empty space. Emptiness has a lot to say, too, it's not just here because there's nothing else there.
To your second question... hm, well, I'd like to say that I never use more than six layers at any given time when I paint. I should have mentioned this in the 'wow' revelations, because once I figured out that while layers are your friends, they can be backstabbing friends, I stopped using them as extensively as I had. It's better to create a layer, paint what you like on it, and then flatten them down. Otherwise the painting often ends up looking as if though you HAVE used layers. Not a very good thing at all. For the most part, I'll have the character on a layer until the background is sort of done - then I flatten it down. I'll paint features on a separate layer and as soon as I have the shape I want, I flatten them down. I work in such a large format that I really can't keep too many layers even if I wanted to.
Tales that I love, huh? Well, anything illustrated by John Bauer. I loved Pippi Långstrump. (Pipi Longstockings in English, I think?) and some of my favourite stories were written by Astrid Lindgren: Mio min Mio, Ronja Rövardotter, Bröderna Lejonhjärta. I adored the old versions of the stories that Disney, eh, Disney-fied. I adore the bloody version of Cinderella, I loved the sad, sad Little Mermaid story (man, she's supposed to die! He's supposed to turn her down!). When I was seven years old, I got my grubby little hands on my first copy of an Edgar Allan Poe book. I'd like to say that was the end of any hopes of me turning out to be a normal person. Poe changed me a lot. Poe led me to HP Lovecraft, who guided me to Stephen King, and from thereon... well... it's pretty much a straight line to where I am today (stomping through lots of Fantasy literature on the way here, but abandoning it a few years ago).
And, yeah, environment contributes greatly. I write better in my parents' cabin, for instance, where the shadows will stretch long and blue across the snow now -- than I do in my flat where the great big bed beckons. I can paint well enough when I'm at home - my mind goes wherever it likes to - but writing seems to call for that creaky old house, the stairs, the basement I could never enter at night time, or the strange door to a slanted closet that sort of rasps and creaks late at night.
cha0t1c1 -- Hahah, yeah, I wish Man that'd be a time saver!
Deffectx -- O my goodness. I don't know. Let me call my brother and ask... (calling)... he doesn't seem to be home. Tell you what, he comes home in a couple of hours or so - I'll ask him when I can, and then edit this post for you. Check back tomorrow. I seriously am a complete computer dummy. He set my computer up for me.
Serious Samm -- No, I don't think it's necessary to attend to art school. But if you don't, you need to be really serious about teaching yourself. It's a matter in that case of looking everything up on your own, of being highly critical of your own work and trying to work outside the frame. The art school I went to was not very fond of my style of work. In fact, they tried to nudge me into far more modern type of art, and I lost heart for painting for a few years until I got my hands on the wacom. I think the right kind of art school can be lovely aid, but I don't think it is absolutely necessary: you'll just have to work a lot harder. By having said that, I don't mean that you can just jump into the fray and start painting. Learn anatomy on your own if you're not in school. Learn all these things they'd teach you. It's not a matter of being able to just SKIP them, they're necessary, the computer doesn't supply you with any short cuts. Just practice and practice - even if it doesn't seem like you're improving, I promise that you are. Paint a sketch every day for thirty days and then do a comparison, you'll see :]
andersh2404 -- Hi there :] I started out with pen and paper. Watercolours and acrylics were my favourite poison for a long while... then I lost interest in painting for a couple of years and when I picked it up again, I was working on the computer. So it's both a matter of knowing the stuff from before, and starting off fresh - there's a huge gap between my last traditional painting (which was, well, many, many years ago) and the work I produce now.
Sylvana -- Thank you kindly :] That really warms my iddle black heart It's wonderful to hear that I can inspire someone - a little strange, though, as I consider myself very much still learning. And, WOW! You spotted the Calamity of Touch picture D: Yeah, it's for the same story, it's the same girl, I'm thrilled that she was recognisable. Ha ha, you've just totally made my day.
Dethol -- Hi there, and welcome to CGtalk :] I'm glad you like my stuff, thank you. As for your questions... I don't have 'live models' as such, but I have friends who are glad to spend an hour letting me take snap photos of every possible angle of the pose I want, in case I mess up when I start working on the painting late at night. Not everything is referenced, but some bits are if that makes any sense.
The inspiration for the environment is almost solely from places I've been to. Someone once pointed out to me that the light scheme in my environments is usually very subdued, and I think that's a result of this. I don't like to be out in the stark sunlight so when I'll usually be walking around, it will be a clouded but lovely day, the shadows will be blurred and the sky a soft grey. It's definitely reflected in my work. Sometimes, I'm inspired by movies - sometimes by music. Sometimes by a gorgeous photo, sometimes by something a friend tells me about. I hope that answers your question :]
Libellula -- Hi, and thank you :]
1) I'm not entirely sure. I'm working hard at it but it's a little slower than I thought. And yeah, it'll be both stories and illustrations.
2) Occasionally, yeah, I do use huge brushes. I tend to sketch in a smaller format, though, and then enlarge the sketch massively and paint over it. When I detail, I'm always using sort of smallish brushes.
3) Heheh, difficult question. I think I pretty much pick all of the colours at the same time: I settle on a colour scheme and a palette (sometimes painting the palette out before I start the actual painting) and then adapt everything accordingly. I think it's a little risky to be 'matching' colours (as in, matching the background to the skin, or the skin to the clothes, etc), and it's always better to have a general colour scheme and let everything move along with that flow :]
Francis -- Heya Francis There are, indeed, a few artists that imitate my style now. I'm not sure how I feel about it. On the one hand, it's nice to inspire people, on the other hand I feel a little sorry for them as finding one's own style is one of the most important parts of painting, in my eyes. I've worked all my life to keep from painting like everyone else, to keep my own feel, my own heart and my own eyes visible in everything I do. When someone else tries to imitate all of these things, they're simply not showing enough of themselves, if that makes any sense? It can also be... well, I hate to admit it, but a tad hurtful. I've put so much heart into developing my personal style and theme, I'd hate for it to be taken out of my hands. But I'm sure most of them will pick their own poison up soon enough and leave the influence behind... I used to try to imitate other artists when I was little (much younger, like, in my early teens), and I moved beyond that when the time was right. I hope I'm making any kind of sense? Thanks - you're a huge inspiration to me, too
I N F I N I T E -- Eep! Heheh, thank you, now you made me blush D:
Desiree -- Hm, well, the smoothness is a problem. My wacom has a little bit of a problem not making a long line a little jagged, something I'll have to go back and correct with an eraser. The tools are always in the way, even when they're helping us. But, yes, when you have the money, you should try an Intuos out. The intuos has about twice the pressure sensitivity that the graphire does, so the difference is pretty immediate and obvious. Do you know anyone who has one, you could go over and try it out? I prefer Photoshop over painter but I usually use both for an image. Most of my paintings would be at least 5000-6000pixels tall or wide. I always work at 300dpi.
AGU-ART -- Aw, thank you :] Heheh, Grieg is a wonderful guy (or was, anyway). I've got nearly everything he composed and he's a huge inspiration for me when I paint. Thanks for thinking of me and pointing him out to me, even if I already knew him. He's one of my favourite composers, next to Bach and Orff. His 'in the hall of the mountain king' seriously sends chills down my spine.
I am terrible at calibrating my monitor. I used to do it with Adobe Gamma... last week, a friend dropped by with some weird tool. I have no idea what it was, he put a thingie on the screen and we waited for five minutes - then the screen was flawlessly calibrated. You see, I'm a complete dummy when it comes to the actual 'computer' side of what I do. Everyone else does that work for me
RealCapri -- Thank you I'm honoured.
Whoops, I have to take a typing break again. This time because Azrael has plopped down on my knee (and the tablet) and is demanding attention. I'll post this, and then get back to responding when he decides he wants to do something else.